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with the city government for land titles and city services. (speaking portugues ) translator:itles the first things we want here are day care, a health clinic and a school. these are the three ings we need most urgently. narrator: if these newest migrants receive official recognition, a path toward assimilationath behind and integratiofore them, anslator: i wa to stay here, finish t house and connue. e k. naator immigratioto saoaulo s slowedgain, ( speaking porguese )slato, but birth rates coinue rease the pulation. orwirojectop ceg ib th is ciwhicswi dow sinher case, has creased.pop sao o willontinutoe one of the world's mega-cies. the urban geography of immigration and ethnic diversity real a complex pattern of squatr settlements and self-construction. with luck and hard work, the newest residents will get their chance to share in the wealth and sophistication thats sao paulo. narrator: in eatorial regions around the world, large tropicalaiforests are qukly vashing. ree examine seral emes,uness, b thanouincluding:16% of bras rt opical foresecology; maalof sustainabevelopmeucnd a; the ama
needs of the government. steward of the tanner's guild is sherrif mohamad alaoui. interpreter: if the king is coming or if someone from america or france is coming, we are asked to go out and show our happiness, our appreciation that they come to see us. we go out, around a hundred of us, and we clap our hands and hit this piece of metal that we have. it is quite a show. you can really appreciate it. if the government needs the guild steward in some cases like that, they call him. that's the role of the guild steward. keach: archaeologists believe that in ancient ostia specialists also organized themselves into craft associations and guilds. the shipwrights, for example, had a large and active guild. these are the ruins of what is believed to have been their clubhouse. it was a magnificent building with a suite of dining rooms arranged around a long, indoor fish pond that would have been lined with imported marble. claridge: the principal feature is this large, central court which provides ample space for all sorts of perhaps alfresco dining as well that they could actually pu
are the only major government agency that is not headquartered in washington, dc, and both the fact that we're not in washington as well as the date that we were established, tells you something about our history. in 1946, troops were returning home from europe and the pacific after world war ii. the joy of their return was tempered by public health concerns about what might be arriving with them. would their homecoming also reintroduce diseases that had been erased from the national scene? in the southeastern part of the united states, up until well into the 20th century, this was an area that had malaria. there was a lot of concern that as soldiers returned from areas, particularly in the pacific, which were high-incidence areas for malaria, that as they came back to military bases in the southeast, that there was a possibility that they would reintroduce malaria into the mosquito populations around those military bases, and so a little unit was established in atlanta, being that it was the largest city in the southeast, to make sure that those mosquito populations were kept under control
of spectators who have gathered to watch their seat of government consumed by a wall of flames. that combination of observation tempered with passionate artistry flowered again in turner's 1839 the fighting "temeraire" tugged to her last berth to be broken up, many wept to see the temeraire, a ship that had stood with nelson at the battle of trafalgar, at the mercy of a steam driven tug dragging it to the scrap yard. turner would never lend or sell the picture, which he called "my darling." turner may have regretted the passing of that era but he was fascinated by the steam age. keelmen heaving in coals by moonlight was painted for an industrialist. but it can also be seen as an elegy for the honest and hard working labor that fed the engines of the steam-driven empire. it was praised for its extraordinary light-- described by one observer as "neither night nor day." throughout the 1830s and into the 1840s, turner produced works with expressive brushwork and an indistinctness that baffled critics. (reader) "to speak of these works as pictures, would be an abuse of language." (narrator) snow stor
Search Results 0 to 3 of about 4